The Millennials’ Orchestra: Millennial Generation Audiences & Donors (cont.)

As a continuation of my last blog post Millennial Generation Audiences & Donors, I’m staying on the subject of technology and leveraging technology to help connect with next gen orchestra patrons.  I also begin to explore the idea of creating an orchestra concert experience and thoughts around the potential for engaging Millennials.

* * *

From a finance perspective, Stanford Professor Emeritus in Economics Robert Flanagan is wary of technology’s impact on live orchestra performance.147 Although radio and Internet have increased distribution and consumption of music, he worries that these channels have also diverted audiences and revenue away from traditional, live concert experiences.148 Nonprofit arts researcher Alan Brown acknowledges the influence of radio and other music production technologies on the public’s musical tastes, but instead sees radio as a way to broaden people’s tastes to include classical music and contemporary works by symphony orchestras.149 Brown advises broadcasters to loosen the musical boundaries around classical music and encourage listeners to experience newer works. This, in turn, may foster greater acceptance of contemporary works performed live in the concert hall.150

Engaging Millennials in Multisensory Orchestra Concert Experiences

Some symphony orchestras have already begun to explore innovative audio-visubso_WestwaterKCC_gridal performance opportunities, such as Westwater’s Symphonic Photochoreography. Founder James Westwater describes, “Symphonic photochoreography is an innovative art form that engages audiences worldwide with evocative, multi-image photographic essays choreographed and performed live to selected works of classical music.” The Baltimore Symphony Orchestra has engaged in Westwater’s “Kids, Cameras and Classics™” series (image right), a program designed to promote community involvement.151

Finding common ground with community members is important, not only for making connections, but also raising awareness about the work and impact of arts organizations in society.  I think alternative orchestra concerts provide a forum that enable this to happen.152  It is not just music; it is a concert experience – a shared concert experience that becomes a story that audiences want to share with their family and friends.153 Concerts that stimulate both the visual and audio senses can be an especially effective means of engaging Millennial audiences and providing desirable symphony orchestra experiences.154

With innovative partnerships, dynamic multimedia, and exciting, multi-sensory audience experiences beginning to take hold, I encourage symphony orchestras to continue thinking outside of the traditional performance mindset, to push their creative boundaries, and connect with their audiences in a variety of ways that are relevant and interesting to them.155 Knowing your audiences takes time and stems from the development of strong relationships. With audiovisual performances, and other engaging classical music experiences to facilitate social  interaction with enthusiastic and innovative arts organizations, symphony orchestras have much to look forward to with the evolution of technology.156

This is a personal blog. “The Millennials’ Orchestra” posts are not meant to be opinion pieces, but rather founded in research, which I gathered and reported on as part of my graduate capstone project over 2012-2013. Resources are listed below.

147 Robert J Flanagan, “The Perilous Life of Symphony Orchestras.”
148 Ibid.
149 Alan Brown (Project Director), “Classical Music Consumer Segmentation Study.”
150 Ibid.
151 James Westwater, “Community Involvemebt: Westwater Arts Photochoreography,” westwaterarts.com/involve.html.
152 Catherine Starek, “‘SEE’ the Power of Music for Audience Development!,” originally posted as a guest blogger for Audience Development Specialists, 2013, mezzaphonicallyspeaking.wordpress.com/2013/03/13/3217/.
153 Ibid.
154 Ibid.
155 Ibid.
156 Ibid.

The Millennials’ Orchestra: Millennial Generation Audiences & Donors

Social media, the Internet, and mobile technology are considered to be key to connecting, interacting, and building relationships between Millennials and arts organizations. Read more of my research on engaging Millennial generation audiences and donors in my latest blog post. Continue reading

The Millennials’ Orchestra: Changing Styles of Engagement

“The Millennials’ Orchestra” series of blog posts are not meant to be opinion pieces, but rather founded in research, which I gathered and reported as part of my graduate Capstone project from 2012-2013. This is a personal blog and does not represent the views or opinions of my employer.


The Millennials’ Orchestra: Changing Styles of Engagement

The prominence and use of technology is one of the most distinguishing factors of the Millennial generation.101 Authors of the Pew Research Center’s comprehensive study Millennials: A Portrait of Generation Next, consider Millennials to be the first “always connected” generation.102 The increased use of social media and mobile Internet is readily apparent.103 Aaron Smith, author of the Pew Internet & American Life Project gadget survey, reveals in an interview with NPR that 96% of the Millennials in the U.S. own cellphones and are accessing information in different ways, even when compared to just a few years before.104

Carolyn Boiarsky, Journal of Popular Culture contributor, acknowledges the influence of technology on young adults, referring to those raised in the “Electronic Age” as the Nintendo or N-generation.105 The National Endowment for the Arts106 and Pew Research Center107 reveal the multimodal tendencies of the Millennial generation, reflecting their preference for more personalized and media-based creation, expression, and arts participation.108  Boiarsky also notes how members of the Millennial generation are more visually and kinesthetically oriented in a digital and electronic world.109 Westwater’s Symphonic Photochoreography110 may be one way to address such needs, enhancing the experience of symphony orchestra performance and engage Millennials through relevant technology. Symphonic photochoreography combines video projections with symphony orchestra performances to create a synchronized concert experience that incorporates classical music with dynamic, digital imagery.111  Pointing to the social nature of Millennials, Tamsen McMahon and Roger Sametz of MarketingProfs.com emphasize the need for marketing professionals to create, sustain, and evolve in the “Age of the Social.”112 It is important to note that much of this 21st century social interaction occurs online, and increasingly through the use of mobile technology.113

Regarding classical music engagement, audiences can be categorized in a variety of
ways. Henk Roose of Acta Sociologica categorizes classical music audiences based on aesthetic inclinations (or musical tastes), socio-demographics (social and demographic factors affecting status in society), motivations, and frequency of attendance. In this way, Roose recognizes three categories of classical music audiences: passers-by, interested participants, and inner circle.114 Alan Brown with Audience Insights LLC has idenCircles of Valuetified seven layers of value associated with attending live classical music performance by U.S. adults, including both intrinsic (artistic or educational; spiritual; healing/therapeutic) and extrinsic (ritual/ambiance; social interaction; relationship enhancement; occasion) values (pictured left).115 In addition to these considerations, Brown’s Classical Music Consumer Segmentation Study examines how classical music consumers relate (or perceive their connection) to their local symphony orchestras.116

The National Endowment for the Arts released a new media report in 2010, discussing the influence of technology on arts participation and exploring the concept of Audience 2.0 – or the ways in which “Americans participate in the arts via electronic and digital media”117 In this report, the NEA examines participation among U.S. adults (18 to 75+ years old)118 in benchmark arts activities. “Benchmark arts activities include jazz, classical music, opera, musical plays, non-musical plays, ballet performances, and visual arts.”119 Respondents are divided into four participant segments based on their inclination, or disinclination, to engage in the arts through media, live performance, or both.120 Segments included those participating through both electronic media and live attendance; electronic media only; live attendance only; neither electronic media nor live attendance.121

Given the choice, how would you prefer to engage with your local symphony orchestra in the classical music concert experience?

*     *     *

101 Pew Research Center, 2010, “Millennials: Confident-Connected-Open to Change.”
102 Ibid.
103 National Public Radio,”Survey: 96 Percent of Young Adults Own Cellphones,” 2010,
published electronically, October 18, 2010. http://www.npr.org/templates/story/story.php?storyId=130639028.
104 Ibid.
105 Carolyn Boiarsky, “This Is Not Our Fathers’ Generation: Web Pages, the Chicago Lyric
Opera, and the Philadelphia Orchestra,” Journal of Popular Culture, 36 (Summer 2002): 14-24.
106 Jennifer L. Novak-Leonard and Alan S. Brown, “Beyond Attendance: A Multi-Modal
Understanding of Arts Participation,” 104: National Endowment for the Arts, 2011.
107 Pew Research Center, 2010, “Millennials: Confident-Connected-Open to Change.”
108 Jennifer L. Novak-Leonard and Alan S. Brown, “Beyond Attendance.”
109 Ibid.
110 Dr. James Westwater and Nicholas Bardonnay, “Westwater Arts: Home,” http://westwaterarts.com/home.html.
111 Ibid.
112 Tamsen McMahon and Roger Sametz, “Create, Sustain, Evolve: Engaging Your Organization
to Keep Your Brand Healthy and Relevant,” In Marketing/Branding, http://www.sametz.com/news-and-articles/authored-articles/430-create-sustain-evolve.
113 Amanda Lenhart, Kristen Purcell, Aaron Smith, and Kathryn Zickuhr, “Social Media &
Mobile Internet Use among Teens and Young Adults,” In Millennials: A Portrait of Generation
Next, Washington, D.C., 2010.
114 Henk Roose, “Many-Voiced or Unisono? An Inquiry into Motives for Attendance and
Aesthetic Dispositions of the Audience Attending Classical Concerts,” Acta Sociologica, 51, no.
3 (2008): 237-53.
115 Alan Brown Classical Music Consumer Segmentation Study: How Americans Relate to Classical Music and Their Local Orchestras. Southport, (Connecticut: Audience Insight LLC, 2002), http://www.polyphonic.org/wp-content/uploads/2012/04/2002_Classical_Music_Consumer_Report.pdf.
116 Ibid.

The Millennial Alumni Research Project

Millennial Alumni

It’s hard to believe that I’m coming up on one year post-graduation from American University’s Arts Management program and the completion of my Capstone Project, ‘The Millennials’ Orchestra – Marketing and Development Strategies for Engaging Millennial Audiences and Donors in the U.S. Symphony Orchestra Classical Concert Experience.”  During the research process, my understanding of the Millennial generation as a whole and their inclinations to give was greatly enhanced by the studies and articles published by Achieve, Pew Research Center, and the Chronicle of Philanthropy.  I became a big fan of these Millennially-charged fact tanks, so you can imagine my nerdy delight when I found out my Alma mater was selected to partner with Achieve and the Chronicle of Philanthropy in the 2014 Millennial Alumni Research Project.

The Chronicle of Philanthropy, in partnership with Achieve, will research the attitudes and engagement preferences of young alumni (Millennial generation graduates age 22-32). Through research surveys, focus groups, and user testing, institutions of higher education will have a better understanding of how alumni prefer to be involved and ways to connect and seek their support.

Flickr photo, ITU/Rowan Farrell

Flickr photo, ITU/Rowan Farrell

As a Millennial alum, I received an email asking me to participate in the survey.  I was excited to help out my school and contribute to the continued learning around the Millennial generation. Of course, I had to say yes!

I clicked on the link, taking me to the online survey.  In an appreciative and upbeat manner, the general purpose of the survey, as well as the length of time I could expect to devote to completing it, was explained upfront:

Thanks for agreeing to take the 2014 Higher Education Millennial Alumni Survey!  Your university is partnering with the Chronicle of Philanthropy and Achieve to understand the interests and preferences of Millennial alumni.  The survey will take approximately 10 minutes and we thank you for your time.

The survey began with a couple of simple, demographic questions, asking me to identify my gender and birth date (to verify that I fall into the Millennial age-range, I suspect).  Having completed the introduction, I was informed that the survey would be broken into three main components.  Compelled to know more, I continued with the survey.

As I completed one section and entered another, I received a clear message indicating the section/topic change.  I appreciated these mile-markers, not only for the reminder of the topics, but also for the structure of the survey.  Before we go any farther, however, you’re probably wondering what these mystery topics were all about…

  1. Alumni Attitudes
  2. Alumni Giving
  3. Alumni Involvement

As you might expect, I was asked a variety of questions about my interests, career development as it relates to my degree, giving preferences, and involvement with my Alma mater post-graduation, among others.  By the end of the survey, I was invited to participate in their on-going Millennial Involvement Focus Group and agreed.

It will be interesting to take part in this focus group over the next several months and exciting to read about the results of this research initiative.  We’ll have to stay tuned!

The research findings of the Young Alumni Engagement and Attitudinal Study will be released at MCON14 on June 18-19, 2014 in Chicago, IL.

MCON14

The Millennials’ Orchestra: From The Millennial’s Perspective

“The Millennials’ Orchestra” series of blog posts are not meant to be opinion pieces, but rather founded in research, which I gathered and reported as part of my graduate Capstone project from 2012-2013. This is a personal blog and does not represent the views or opinions of my employer.


The Millennials’ Orchestra: From The Millennial’s Perspective

Symphony orchestra concerts – Where are the Millennials?  Why aren’t they in our audiences?  What are they interested in and what would excite them to attend classical orchestra concerts?

So many orchestra managers have lost sleep over these types of questions – including myself.  As a Millennial and self proclaimed orchestra-lover, I knew there had to be others out there like me who love the art form, but perhaps they chose to participate in symphonic music in different ways than in the traditional sense of attending a concert… With these questions and more, I set out on a mission for answers.  From there, my graduate research survey was born.

Through this survey, I was able to gain valuable insight into the current public sentiment around classical music and symphony orchestra performance in the 21st century and across the U.S.[1]  The survey was distributed on social media networks  – Facebook, Twitter, LinkedIn, and WordPress – which may account for the lack of responses from the two oldest generations.[2] Within ten days, however, 110 people had voluntarily participated in the survey.[3] Out of those 110 respondents, 62 had identified themselves as Millennials.[4]  (Here’s where it gets really interesting!)

Millennials Speak Out:

What in your opinion are the biggest challenges facing symphony orchestras, especially when it comes to engaging younger audiences in live performance?

    1. Approximately 60% of Millennial survey participants selected “lack of interest”[5] as their response. When answers such as, “all of the above” or “combination of expense and lack of interest” are also included, that figure increased by nearly three percentage points (to 62.9%).  Across all survey participants, however, “lack of interest” was clearly the outlier (45% selected this answer).[6]
    2. The second most prevalent answer among Millennials was “concert experience” (10 out of 62, or ~16%).[7]

Contrary to common belief, “expense” is not the biggest concern for Millennials when it comes to orchestra concerts.  Albeit it’s still an important and influential factor, only 6 out of 62, or ~9.7% of Millennial survey takers[8] selected this as their answer.  It appears that Millennials place greater value on relevance and appeal when making the decision to attend a symphony orchestra concert.

So where are the audiences? The young people?
Thought-Leaders Share Their Opinions:

Greg Sandow, author of The Future of Classical Music ArtsJournal blog, believes that the concert experience is at the heart of the lack of Millennials in attendance at classical symphony orchestra concerts.[9]  Other limiting factors face U.S. symphony orchestras. With increasing reliance on social and handheld technology in our modern society, Engaging Art contributing authors highlight how the interests and expectations of contemporary audiences have changed, as well as the nature of arts participation.[10] Dan Laughey, author of Music & Youth Culture, emphasizes the connection of “youth culture” [11] to the energetic, social atmosphere of music clubs and other pop culture environments.[12]  Mark Shugoll, of Shugoll Research outside of Washington, D.C., suggests that aligning program offerings with such inclinations can help arts organizations become more relevant and appealing to the elusive Millennial generation patrons.[13]

What do you think, readers?: 

What is the key to symphony orchestra appeal in the eyes of our Millennial populations?

What do you think it will take for symphony orchestras in the U.S. to inspire recurring attendance among these coveted audiences?


[1] Catherine Starek, “Graduate Research Survey 2013 – Classical Music and Symphony Orchestra Performance,” Google Form, 2013.
[2] Ibid.
[3] Ibid.
[4] Ibid.
[5] Ibid.
[6] Ibid.
[7] Ibid.
[8] Ibid.
[9] Greg Sandow, (ArtsJournal blogger), interview by Catherine Starek.
[10] Steven Tepper and Bill Ivey, 2008, Engaging Art.
[11] Dan Laughey, Music & Youth Culture, Edinburgh: Edinburgh University Press Ltd, 2006.
[12] Ibid.
[13] Mark Shugoll, “BSO’s Symphony with a Twist,” interview by Catherine Starek, 2013.

Millennial Classical Musicians: A Who’s Who of Rising Classical Stars (Part 1)

By Catherine StarekClassical Music Contributor, Gen Y Hub’s Millennial Magazine

Classical music…it’s stuffy, boring, and something that only old people enjoy, right? I beg to differ (and I’ll prove it to you)! While the term “classical” may be misleading, classical music is actually a very exciting, inspiring, and powerful musical genre. Millennial musicians are not only embracing the past, they are also shaping the future of classical music performance and putting a fresh twist on what it means to be a classical musician. As a fellow Millennial and modern classical musician, I am happy to shine a growing spotlight on a hand-selected list of young classical superstars. Stay tuned throughout the Millennial Classical Musicians mini-series to get the scoop on all eight of these fantastic modern musicians.

• Jourdan Urbach –
21, violin
• Nicola Benedetti – 25, violin
• Alisa Weilerstein – 30, cello
• Nadia Sirota – 30, viola
• Gustavo Dudamel – 31 32, baton
• Lang Lang – 31, piano
• Hilary Hanh – 31, violin
• Cameron Carpenter – 32, organ

Classical Context
When talking about classical music, however – an era of music that emerged around 1750 – it’s difficult to keep history out of the conversation. Don’t worry though, I promise to keep it brief! The classical music era extends from the mid-18th to the early-19th centuries (c. 1750 – c. 1830).[1] This era is often associated with the works of Beethoven and Mozart, two of the most well known and respected classical musicians and composers in the world.

Modern Classical Musicians
Fast-forward to the 21st century and classical music is still widely heard, appreciated, and performed. Millennial musicians are mastering the classical style, while infusing their personalities, passions, and interests into their performances. The first of eight musicians in the Millennial Classical Musicians line up is 21-year-old, American concert violinist Jourdan Urbach.

JOURDAN URBACH – Musician, Composer, and Philanthropist
JourdanUrbach2Jourdan Urbach was born in December of 1991. Just seven years later, Jourdan hit the stage, making his professional debut on the violin. For comparison, Mozart premiered around the age of five. Music critics delight in Jourdan’s “buttery smooth” sound and the brilliance and technical acuity of his playing. Recognized as a child prodigy, this young superstar has already become a Grammy-winning concert violinist. He has even had the rare opportunity to perform – twice – as a featured artist at Carnegie Hall, an internationally renowned concert hall in Manhattan.

The pressure to succeed is understandably intense in these high-profile performances. His strong love of music, however, and positive attitude helps to carry him through. He reflects on the performing experience and his mindset as a modern classical musician in a 2011 interview with Charles Osgood, “I get a huge rush out of performing,” he shares, “and I can tolerate the practice because I know it leads up to that.”

Jourdan Urbach performing Aerion:

The Cherry On Top
Jourdan Urbach is not only a tremendously talented musician, he’s also passionately philanthropic and participates in what he calls “Responsible Music.” According to Jourdan, “music is designed to be heard, but it is also to be used to further the greater good.” In this spirit, he founded Concerts for a Cure (originally Children Helping Children) when he was just seven years old. Over the past 14 years, his charity has raised more than $5 million through classical music, benefiting children in New York hospitals and the international medical community. Jourdan’s musical and philanthropic passions play an important role in his service as an international representative of the United Nations’ Arts for Peace program that he promotes on his website,  “As a Goodwill Ambassador and Artist-in-Residence for UN (Arts for Peace), Jourdan serves as a cultural link between the UN community and the artistic community in NY and abroad.”

Jourdan actively impacts the world through his music and dedication to society. As a modern classical music performer and composer, he is vibrant, successful, and clearly high in demand. I look forward to watching his music career and charitable efforts grow and evolve, affecting the hearts and minds of people around the world.

JourdanUrbach

JOURDAN URBACH
Age: 21
Nationality: American
Instrument: Violin
Claim to Fame: Grammy-winning concert violinist; Contemporary composer; Founder of Children Helping Children
Facebook: JourdanUrbachMusic

Twitter: @JourdanUrbach
Website: jourdanurbach.com

As we move on to the second remarkable Millennial classical musician on the list, you’ll see how she impacts society through her music and advocacy efforts as well, and has risen to classical stardom with modern flair.

NICOLA BENEDETTI – The Silver Violinist
Introducing the ravishing, young classical violinist, Nicola Benedetti. This beautiful, Scotland native has already captured the hearts (and ears) of audiences throughout Great Britain and across the world. She will turn 26 in July.

NicolaBenedettiNicola’s musical journey began when she started violin lessons at the age of five. Approximately ten years later, she entered the Yehudi Menuhin School (YMS) in Surrey and studied with the acclaimed violin professor Natalia Boyarsky. After leaving YMS, she continued to develop her musical talent as a student of the Polish and Russian violinists, Maciej Rakowski and Pavel Vernikov, respectively. Her talents have been featured with professional symphonies and among prominent music festivals and events all over the world. And when she’s not touring, she enjoys playing regularly in her chamber trio with cellist (and also boyfriend of 10 years) Leonard Elschenbroich and pianist Alexei Grynyuk.

Big Sister
Nicola is also fiercely dedicated to music education and participates as a “Big Sister” and Board Member for Sistema Scotland. In recognition for her service to music and charity, she was appointed by the Queen of England to the Most Excellent Order of the British Empire (MBE) in the 2013 New Year Honours.

Life Achievements
Since the launch of her career as a modern classical musician, Nicola has managed to accumulate a spectacular list of accomplishments:

  • BBC Young Musician of the Year in 2004, performing the unconventional Szymanowski Violin Concerto
  • Recipient of the Classical BRIT Award for Young British Classic Performer in 2008
  • Debuted at the 2010 BBC Proms
  • Signed exclusively with Decca Classics in 2011
  • Best Female Artist at the Classic Brits in 2012
  • Listed as Classical “Best Female Artist” in iTunes Best of 2012
  • Released a tremendously successful CD, The Silver Violin

The Silver Violin on SoundCloud:

Bringing Sexy Back to Classical Music
Nicola produces the warmest and most heartfelt violin tones. She plays the Gariel Stradivarius (c. 1717), which is considered to be one of the highest quality and most valuable violins in the world – it’s considered the Gucci of instruments. Her modern-day patron, bank executive Jonathan Moulds, purchased the Strad for her to play for a mere £10 million, or the equivalent of nearly $15.5 million today.

Although she is known for her performance of classical music, she is also unafraid to dive into a wide variety of repertoire. Her latest album The Silver Violin is Hollywood gold, bringing the iconic sounds of the silver screen to her Silver Violin. The enormous success of her CD led to The Silver Violin Tour, which took place this past March in nine venues across Scotland.

NicolaBenedetti2

NICOLA BENEDETTI
Age: 25
Nationality: Scottish/Italian
Instrument: Violin
Claim to Fame: Best Female Classical Artist; plays the Gariel Stradivarius; Sistema Scotland – Big Sister and Board Member
Facebook: Nicola Benedetti Violin

Twitter: @NickyBenedetti
Website: nicolabenedetti.co.uk

Millennial musicians, such as violinists Nicola Benedetti and Jourdan Urbach, are taking the world’s stage by storm; challenging convention; and providing amazing classical music performances for growing audiences, excited listeners, and a variety of populations across the globe. Through music, modern classical musicians are conveying a message of passion and beauty, education and healing, and perhaps most of all, a message of encouragement and hope.

The next article in the Millennial Classical Musicians mini-series will feature a pioneering violist, and one of the greatest advocates for El Sistema, a revolutionary music education program originating in Venezuela; His weapon of choice – the baton.

Originally Published June 28, 2013 – genyhub.com

_________________________________________________________________

[1] http://www.naxos.com/education/brief_history.asp

The Millennials’ Orchestra: Defining A Contemporary Generation

“The Millennials’ Orchestra” series of blog posts are not meant to be opinion pieces, but rather founded in research, which I gathered and reported as part of my graduate Capstone project from 2012-2013. This is a personal blog and does not represent the views or opinions of my employer.

The Millennials’ Orchestra: Defining A Contemporary Generation

Millennial Engagement with U.S. Symphony Orchestras
Members of the Millennial generation are noticeably lacking in the audiences of symphony orchestra concert halls.[1] Based on my research and personal experiences, I believe that developing a better understanding of the Millennial generation, and working to identify and establish effective marketing and development strategies tailored to their preferences and needs, may lend to greater success and stability for U.S. symphony orchestras in the 21st century.  The literature review to follow addresses some of the pressing issues facing symphony orchestras in the U.S., provides insight into the Millennial generation mindset and behaviors, shares examples of innovative programming and forward-thinking adaptations, and reinforces the importance of Millennial engagement.  First, however, it is important to consider how the term “Millennial” is commonly referred to and understood from various points of view.

An Important Note on Terminology
Researchers often refer to the Millennial generation in a variety of ways and use these terms somewhat interchangeably (e.g. Millennials, Millennial generation, Generation Y, Generation Next, NextGen, and younga(er) people/population/cohorts).  Characteristics of a specific generation (Millennial), therefore, are often conflated with the more general age category (young).  Each generation exhibits characteristics and behavior shaped by the prevalent attitudes, expectations, and events of the time.  The Boston Consulting Group, for example, has identified six different groups of Millennials based on consumer behavior.[2]  Listed in descending order of prevalence, these segments include: Hip-ennial (29%), Millennial Mom (22%), Anti-Millennial (16%), Gadget Guru (13%), Clean and Green Millennial (10%), and Old-School Millennial (10%).[3] Future generations of young people may or may not display the same characteristics associated with present-day Millennials.

Inconsistency also exists in defining age ranges of the Millennial generation.  While similar, the minimum and maximum boundaries of age tend to vary from source to source.  According to the Case Foundation, for example, Millennials are “people born between 1978 and 1993, or individuals who are currently 15 to 29 years old,”[4] while members of the Boston Consulting Group consider them as individuals “aged 16 to 34.”[5]  JiWire researchers, specializing in “mobile audience insights,”[6] consider Millennials to be “American consumers between ages 18 and 34.”[7]  Achieve’s Millennial Impact Report 2012 focuses on young adults between the ages of 20 and 35.[8] Finally, Pew Research Center’s Millennials: A Portrait of Generation Next, and corresponding report Millennials: Confident. Connected. Open to Change., define Millennials as young adults, ages 18 to 29.[9]

Defining a generation solely based on age quickly becomes irrelevant as time passes – what is true at the time would not hold true in the following year.  It is more easily and consistently understood as a range of birth years.  The figure below is a comparison the five most recent generations by age (as of 2011) and by birth year.  The original version of this age timeline can be found on the Pew Research Center website as an interactive graphic.[10]

Pew Research Center: A Portrait of Five Generations

A Portrait of 5 Generations

The Pew Research Center’s 2010 report, “Millennials: Confident. Connected. Open to Change.,”[11] is based on information collected during a two-week survey in January 2010, involving more than 2,000 adults across the country.[12]  Millennials accounted for 830 of the total 2,020 sample group, enabling a more detailed analysis of Millennial attitudes.[13]  Additional Pew Research Center survey findings supplement the 2010 report, including the 2009 survey on changing attitudes toward work (Oct. 21-25, 2009 with 1,028 respondents, 18+ years old) and generational differences (July 20-Aug. 2, 2009 with 1,815 people nationally, 16+ years old).[14]  Surveys from their ongoing Internet & American Life Project provide supporting social and demographic information for the chapter on technology.[15]

Given the large sample size, national scope of the research, and multidimensional approach, one would expect Pew Research Center’s understanding of the Millennial generation to be highly credible and reliable.  Contributing to the larger report series – Millennials: A Portrait of Generation Next – the Pew Research Center’s 2010 report looks at the values, attitudes and experiences of America’s next generation: the Millennials.”[16] It has been my mission to discover how Millennials value, perceive, and prefer to experience classical music performed by symphony orchestras in the United States.

*     *     *

Coming soon…a look at the issues facing U.S. symphony orchestras and some of the factors influencing Millennial participation.


[1] Greg Sandow. “Building a Young Audience (Proof of Culture Change).”
[2] Boston Consulting Group and Barkley and Service Management Group, “The Millennial Consumer: Debunking Stereotypes.” In BCG Perspectives: Boston Consulting Group, 2012.
[3] Michelle Lamar, 2012, New Research: 6 Distinct Segments of Millennials Identified, Social Media Today, retrieved from socialmediatoday website: http://socialmediatoday.com/michellelamarspiral16/490841/new-research-6-distinct-segments-millennials-identified.
[4] Alison Fine, “Social Citizens BETA,” Case Foundation, 2008.
[5] Sonia Paul, 2012, Millennial Consumers: Engaged, Optimistic, Charitable (STUDY), in Mashable Business.
[6] JiWire, 2012, Mobile Audience Insights Report, Q2 2012.
[7] Lauren Indvik, 2011, How the Millennial Generation Uses Mobile (INFOGRAPHIC), Mashable Tech, http://mashable.com/2011/10/13/millenials-mobile-infographic/.
[8] Achieve and Johnson, Grossnickle and Associates (JGA), “The Millennial Impact Report 2012.”
[9] Pew Research Center, “Millennials: Confident-Connected-Open to Change.”
[10] Pew Research Center, “Interactive: A Portrait of Five Generations,” http://www.pewsocialtrends.org/2010/02/24/interactive-graphic-demographic-portrait-of-four-generations/.
[11] Pew Research Center, 2010, “Millennials: Confident-Connected-Open to Change.”
[12] Ibid, “About the Report,” i.
[13] Ibid.
[14] Ibid.
[15] Ibid.
[16] Pew Research Center, 2010, “Millennials: Confident-Connected-Open to Change.”

The Millennials’ Orchestra: Let the Journey Begin!

“The Millennials’ Orchestra” series of blog posts are not meant to be opinion pieces, but rather founded in research, which I gathered and reported as part of my graduate Capstone project from 2012-2013. This is a personal blog and does not represent the views or opinions of my employer.


The Millennials’ Orchestra: Let the Journey Begin!

Millennial Generation Audiences
Since the summer of 2012, I have been working on my Master’s Capstone Portfolio in arts management at American University in Washington, D.C.  During this time I focused my attention on Millennial generation audiences and donors and improving their engagement with U.S. symphony orchestras.  Now that I have graduated, and therefore successfully completed my research project, I am excited to share it with you and hope you will enjoy reading about my thoughts and findings.  As always, I encourage you to comment and share with whomever you think will enjoy my blog.  Thanks for following along — I hope you’ll stay tuned for the duration and take interest in Millennial engagement in the arts!!  Let the journey begin…

Source: vxla on flickr

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The Millennials’ Orchestra:
 Marketing and Development Strategies for Engaging Millennial Generation Audiences and Donors in the U.S. Classical Symphony Orchestra Concert Experience

The purpose of my master’s portfolio is to describe effective marketing and fundraising strategies for engaging Millennial generation audiences and donors with symphony orchestras and classical music performance.  My work as the Strathmore Development Intern for the Baltimore Symphony Orchestra, under the supervision of Stephanie Johnson, Donor Relations Manager, and Deborah Broder, VP of Development, is contained in the portfolio section of my capstone. Work samples demonstrate elements of orchestra management and development, as well as the Next Generation BSO initiative – a development campaign inviting donors to consider underwriting tickets for young professionals to engage in Baltimore Symphony Orchestra performances.

Importance
Several key factors point to the importance of involving and recognizing this generation as participants in the culture and fundraising efforts of symphony orchestras in the U.S. today.  As with any other generation, this population group is characterized by certain distinguishable attributes and shaped by the particular life events and societal dynamics of their time.  Millennials – young adults between the ages 18 and 29 (as of 2010), or individuals born between the years 1981 and 1993 – are known for being confident, connected and open to change.[1] They have been described as the “American teens and twenty-somethings now making the passage into adulthood”[2] with a strong desire to get involved in meaningful activities, engage in social interaction, and give to causes they care most about.[3]

Robert Flanagan, American economist and Professor Emeritus at the Stanford Graduate School of Business,[4] discusses the socio-economic perils facing U.S. symphony orchestras.[5]  He points to the fact that most Millennials are still finishing school or just starting their careers, and are therefore less likely to fit the traditional concert-goer mold.[6]  As of 2002, for example, the median age of people attending classical symphony orchestra concerts nationwide was 60 years and older.[7] These audiences also tend to exhibit higher socioeconomic status (i.e. individuals having at least a college degree and an annual income of $50,000 or more).[8] Such disparities may make Millennials feel less welcome in the concert hall and ultimately less likely to participate.[9] Unfortunately, the absence of Millennial audiences has become a growing concerning as audiences continue to age and participation declines.[10] The National Endowment for the Arts’ 2008 Survey of Public Participation in the Arts reports on some of the influential factors in the marked decline of overall arts participation throughout the United States.[11]

In addition to the financial hardship associated with the economic recession just prior to the survey (2007-2008), the NEA found that classical music audiences between 1982 to 2008 “have aged faster than the general adult population (classical music is one in a small group of performing arts disciplines, including ballet, non-musical theatre, and jazz, to experience such rapid aging of audiences).”[12] In addition, the incidence of music education in the lives of Millennials reportedly fell by more than a third (to 38%) during that time.[13] Greg Sandow refers to the NEA’s research in his classical music ArtsJournal blog, but emphasizes the dramatic decline in attendance by Millennials beginning in the early 1980s.[14]

Given the decline in classical concert attendance even among older adults in recent years,[15] and relative absence of Millennials to help sustain arts organizations going forward, waning attendance becomes not only a concern of reduced ticket sales and annual revenue[S1] , it also brings the long-term health of classical symphony orchestra performance into question.[16] Millennials are clearly eager to make a difference in the world[17] and symphony orchestras would be wise to develop ways of effectively and strategically engaging these individuals, making good use of their time, skills, and donations.[18]


[1] Pew Research Center, 2010, Millennials: Confident-Connected-Open to Change, In Millennials: A Portrait of Generation Next, edited by Paul Taylor and Scott Keeter: Pew Research Center.
[2] Ibid.
[3]Achieve and Johnson, Grossnickle and Associates, “The Millennial Impact Report 2012.”
[4] Anne Gregor, “Financial Leadership Required to Fight Symphony Orchestra ‘Cost Disease’,” in Stanford Graduate School of Business (2012), published electronically February 8, 2012, http://www.gsb.stanford.edu/news/headlines/symphony-financial-leadership.html.
[5] Robert J Flanagan, The Perilous Life of Symphony Orchestras: Artistic Triumphs and Economic Challenges, 2012.
[6] Ibid.
[7] Alan Brown, 2002, Classical music audiences, in Midmorning: Minnesota Public Radio.
[8] Robert J Flanagan, The Perilous Life of Symphony Orchestras.
[9] Ibid.
[10] Greg Sandow, “Building a Young Audience (Proof of Culture Change).” In Greg Sandow on the future of classical music. ArtsJournal, 2012.
[11] Kevin Williams and David Keen, “2008 Survey of Public Participation in the Arts,” edited by Don Ball, National Endowment for the Arts, November 2009.
[12] Ibid.
[13] Ibid.
[14] Greg Sandow, “Building a Young Audience (Proof of Culture Change).”
[15] Alan Brown, 2002, Classical music audiences.
[16] Greg Sandow, (ArtsJournal blogger), interview by Catherine Starek, “The Future of Classical Music,” June 10, 2012.
[17] Achieve and Johnson, Grossnickle and Associates, “The Millennial Impact Report 2012.”
[18] Ibid.

The Millennials’ Orchestra: Master’s Capstone Presentation in Arts Management

Master's Capstone Presentation, AU Arts Management

Master’s Capstone Presentation, AU Arts Management